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The book presents a never-before-written case study of the UK-based organisation Secret Cinema – widely considered the leading provider of large-scale immersive experiences in the UK. They are used as a lens through which to understand the wider experiential economy. The book provides a comprehensive and encyclopaedic history of the organisation and its productions. It defines and examines the Secret Cinema format. It critically interrogates the work and operations of Secret Cinema as an organisation and analyses the many layers of audience experience. It combines rigorous academic study with practical industry insight that has been informed by more than fifty in-depth interviews with Secret Cinema practitioners and sector professionals who have worked on immersive productions in areas including performance direction, acting, video design, sound design and composition, lighting design, special effects, stage management, operations and merchandising. Framed within the context of the UK in late-2019, at which point the immersive sector had grown significantly, both through its increasing contribution to UK GDP and its widespread and global recognition as a legitimate cultural offering, we have captured an organisation and a sector that is in transition from marginal and sub-cultural roots to a commodifiable and commercial form, now with recognisable professional roles and practices, which has contributed to the establishment of an immersive experience industry of national importance and global reach. This book will appeal to scholars, students, film fans, immersive experience professionals and their audiences. It is written in an accessible style with rich case study materials and illustrative examples.
a co-ordinated campaign – more of which later. Anderson (albeit in the British journal Sight & Sound ) had reiterated his familiar desire to stir things up, expressing pleasure that Glory! Glory! was more hard hitting than might have been expected. For this thanks were due to HBO which had been anxious to produce the kind of work that could not be seen on network TV. 62 In the USA, screen industry
This book reports on the findings of an eighteen-month UKRI funded mixed-methods
research project that took place in England, Scotland, Northern Ireland and
Wales between September 2020 and November 2021. It provides a comprehensive
overview of the impacts of the Covid-19 pandemic on the UK’s cultural sector,
identifying implications for policy, practice and the sector’s future direction.
Over eleven chapters, the book summarises the local, regional and national
policy responses to the crisis, and provides statistical analyses of the impacts
on the UK’s cultural workforce and audiences’ responses to the pandemic. These
insights are further illustrated via detailed case studies of cultural
sub-sectors of theatre, museums and galleries, screen industries, libraries and
festivals, interviews with cultural leaders and an ecosystem case study of the
Greater Manchester city region.
The book identifies recurrent themes
emerging from the research, commenting on policy responses, audience confidence,
shifts to digital engagement and civic responsibility, organisational practice
and recovery. It offers a robust analysis of the short, medium and longer-term
impacts of Covid-19 and highlights their implications for cultural
practitioners, organisations, funders and policymakers. The unique contribution
of the book lies in the presentation of findings which highlight the challenges
faced by cultural practitioners, organisations and audiences from different
backgrounds, regions and art forms. Using lenses which focus on both macro and
micro levels, the book provides fresh insights into the implications for
research on, with, and around the cultural sector, highlighting possible future
directions for arts management, audience research and cultural policy studies.
The powerful hegemonic perspective, constructed and encoded through the Hollywood musical and its promotion of mainstream popular music, was increasingly under challenge during the 1950s. This chapter examines Hollywood's response to the challenge of rock'n'roll and the development of a youth market in the 1950s. Hollywood's supremacy as the entertainment medium was under threat from both record sales and the burgeoning television industry; the impact of a differentiated market and the challenge to conventional 'adult' values represented a crisis in sociocultural attitudes which Hollywood found hard to deal with. After consideration of both the film and the music industries at this period, detailed analysis of a number of films, including the early films of Elvis Presley, suggests that the screen industries successfully incorporated the challenges of the new music, arguing that Presley's films perpetuate ideological and aesthetic concerns established in the classical Hollywood musical.
The alliance between popular music and the screen media - cinema, television and video - sits at the heart of contemporary popular culture. By looking at the historical development of the relationship between popular music and moving image culture, this book aims to examine some important developments in the ways in which popular music has been mediated commercially, ideologically and aesthetically through the screen media throughout the twentieth century. In trying to understand popular music in its specific relationship with the screen media, the book attempts a kind of academic 'mission impossible'. It undertakes specific analysis of individual texts, examines their ideological determinants and effects, and emphasises the importance of economics in both their production and consumption. The book points to the crucial importance of technology in shaping and determining film, television and music video as both commodity and cultural form, and examines the pleasures which audiences have experienced. In teaching and learning about music video, it has always been important to emphasise the determining role played by corporations and institutions in the production of cultural goods. Primarily this is because of Music TeleVision (MTV) which rapidly assumed a significance beyond its capability to attract a mass audience. The book the book examines the suggestion that what most characterizes the relationship between popular music and the screen media from Hollywood musical to music video is a strong sense of continuity.
from voices that are relatively ensconced in Europe or European screen industries. This is quite intentional and, I would argue, entirely logical, given my interest in the structures and the apparatuses underpinning European screen borders. It nonetheless excludes certain perspectives on Europe. Scholars who practise screen studies have always been drawn to spatial metaphors (the film as map) or
This study focuses on the ‘film and TV production and post-production’ sub-sector within the screen industries. Depending on the context, various sub-sectors are included under the umbrella term ‘screen industry’. In the Welsh context these include film, television, games, animation and VFX, and on occasion online and immersive content production. The choice to focus on film and TV production was based
, symphony orchestra, and musicals, with his studies ranging from Indian ragas and Pat Metheny to the Radiophonic Workshop and traditions of film music. Those principles around cultural and temporal diversity have contributed to Segun Akinola’s music for Doctor Who being not just remarkable within the programme’s 57-year history but significant within the prevailing tendencies in compositional practice for the dominant Anglophone screen industries and a model for practitioners in the future. Acknowledgements
, museums and galleries, screen industries, libraries and festivals), via interviews with emerging cultural leaders and via taking an ecosystem approach to the case study of the Greater Manchester city region. The book identifies the core, recurrent themes that have emerged from the research. It offers a robust analysis of the short, medium and longer-term impacts of COVID-19 on the cultural sector and
considerable sub-sectoral distinctiveness. We knew from the outset of the research project that the performing arts, for example, would be impacted in a fundamentally different way from museums and galleries; that festivals would have to pivot in a very different way from the screen industries; that freelancers working across different sub-sectors would have markedly different experiences in each one and possibly need